Notes From Buck Houghton

November 6, 2009

Continuing this blog’s fiftieth-anniversary coverage of The Twilight Zone, I turn your attention to one Archible Ernest “Buck” Houghton, Jr., the producer of the series’ first three seasons. On September 25 and 26, 1998, I spoke to Houghton on the phone for some time, on the subject The Twilight Zone and also about his work in television before and after that series. At the time, Houghton’s non-Zone career had not been documented very well, apart from a few paragraphs in Marc Scott Zicree’s Twilight Zone Companion.

For some reason that I can no longer remember, the Houghton interviews were not recorded. But I took good notes, and I offer a summary of them below, in the hope that a few of these tidbits may not have not been captured elsewhere.

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The earliest TV project that Houghton mentioned was the Schlitz Playhouse, which he worked on in 1951-1952. Houghton did not discuss many of his other fifties shows, which include China Smith and Man With a Camera. But he did cite Wire Service as his favorite of his pre-Twilight Zone shows, because its hour-long format permitted more elaborate storytelling.

Houghton told me that William Self, who had been his boss on Schlitz and had developed the Twilight Zone pilot for CBS, hired him to produce the series. Houghton screened the pilot and read some early scripts before he met Rod Serling for the first time. Houghton stood 6’3” tall, and during their first encounter, Serling asked, “Don’t they have any short producers?”

I asked Houghton briefly about some of the other major Twilight Zone contributors as well. He felt that George Clayton was “as crazy as a march hair” and recalled that the underrated Montgomery Pittman was physically heavyset and “very social . . . a good storyteller.” Of the Twilight Zone directors, Houghton liked to assign “character-driven” scripts to Douglas Heyes, and to use Don Medford for episodes that were heavy on “action, action!” As most fans consider John Brahm’s brooding imagery a perfect fit for The Twilight Zone, I was surprised to learn that Houghton valued the German emigre mainly for his efficiency. Brahm could be counted on to bring his Twilight Zones in on schedule.

Houghton explained that he left The Twilight Zone at the end of its third season because of the lengthy arguments about extending the series to an hour-long format. Houghton did not approve of the change. He left the series and accepted an offer as a sort of producer-at-large at Dick Powell’s Four Star Productions.

Houghton’s timing was bad, and his experience at Four Star disastrous. He got along with Powell, but fought with the executive in charge of business affairs for the company. (Houghton could not remember the man’s name, but it was probably Thomas J. McDermott.) The problem was that Powell was dying of cancer; he would expire on January 2, 1963, one day before the hour-long version of The Twilight Zone debuted on CBS. During Powell’s illness, Four Star Productions fell into chaos. It was top-heavy with executives and contracted talent, and light on new projects to which they could apply themselves. This was year that then-collaborators Sam Peckinpah and Bruce Geller spent playing cards in their office, and the season when Christopher Knopf, the co-creator of Big Valley, traded his interest in the show to get out of his Four Star contract. Houghton emerged with only a single credit to show for his year at Four Star. He produced an unsold pilot called Adamsburg, USA, which was broadcast as one of the final segments of The Dick Powell Show under the title “The Old Man and the City.”

Houghton told me that Rod Serling wanted him to return to produce the final season of The Twilight Zone, but that the network overruled him. (At the time, CBS had an inside man, former network executive Bert Granet, in place to oversee Serling’s anthology.) Instead, Houghton moved from Four Star back to MGM to produce The Richard Boone Show for the 1963-1964 season. He was working on the same backlot that was still home to The Twilight Zone, and using in for Richard Boone just as expertly as he had on Serling’s series.

The Richard Boone Show was an ambitious attempt at creating a modern repertory theater on television. It was home to two giants, Boone and story editor Clifford Odets. Houghton was brought in by both of them together, although (like nearly everyone else in Hollywood) he soon clashed with Boone. Houghton found the actor autocratic, and felt that Boone thought he should’ve been a bigger star (and a star in movies, not television). Like Powell, Clifford Odets would pass away just months after Houghton went to work for him. According to Houghton, the famed playwright found that he disliked story editing and ended up concentrating almost entirely on the two original scripts he wrote for the series.

For the next two decades, Houghton passed through a number of well-known shows without finding a permanent home. Houghton labored briefly on Lost in Space, but (like nearly everyone else in Hollywood) he disliked its executive producer, Irwin Allen. He spent a few months commuting between Los Angeles and the Tucson location of High Chaparral, which NBC hired him to produce on the theory that Chaparral’s creator, David Dortort, would spread himself too thin between the series. NBC was wrong, and Houghton moved on. Later he spent a half-season on Harry O and a full season producing Hawaii Five-O. Houghton left that series because (like nearly everyone else in Hollywood) he couldn’t get along with Jack Lord. A few made-for-television movies rounded out Houghton’s producing career.

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There’s a reason why I called Buck Houghton in 1998. Together with a friend and fellow historian, Stuart Galbraith IV, I had come up with the idea of staging a sort of Twilight Zone reunion. We would invite some of the show’s surviving creative team to lunch, record the proceedings, and write them up as a feature for some film or science fiction magazine.

For obvious reasons, Houghton was first on our list of guests to approach, and I’ll never forget his response. Politely, Houghton declined our invitation, and when I pressed for a reason he said that he would “prefer to remember everyone as they were then.” Then he added something even more touching: that he would be willing to participate anyway, if it would help my career as a freelance writer.

Naturally, I couldn’t accept Houghton’s generous offer on those terms, and without his involvement our reunion idea fizzled out. Only nine months later, in May 1999, Houghton died, and his obituaries recorded a laundry list of ailments as the cause. (Varietyreported “complications from emphysema and ALS.”) If Houghton, who said nothing to me about his failing health, was willing to battle those illnesses just to help out a stranger, then he had to have been one very classy guy. I’m sorry we never met for that lunch.

5 Responses to “Notes From Buck Houghton”

Buck Houghton did have one more late credit of interest. He produced — with Doug Claybourne — THE ESCAPE ARTIST for Francis Coppola’s Zoetrope Studios in the early ’80s. The David Wagoner novel about a youthful magician had long been a favorite of Coppola’s; directed by Caleb Deschanel, the picture was shot largely in Cleveland and completed on the Zoetrope stages in 1980. When I spoke with the friendly, outgoing Houghton about the movie when it was shown at the U.S.A. Film Festival in 1982, he spoke with some enthusiasm for the finished film (which was only mildly received and ultimately barely theatrically released), and more guardedly about its production process. It was clear from his remarks that Coppola had much late involvement with the final version of the picture.

Do you have an e-mail address (Stephen Bowie)? I have the still images of those Rockford Files locations I was curious about. If you have an e-mail address you can either post it here in thr comment section or contact me directly at: ChicagoCop20968@yahoo.com Thanks! Bill Kazupski

I had the opportunity to meet Houghton at the Museum of TV & Radio’s TWILIGHT ZONE reunion which occurred shortly before Houghton’s death. He could not have been nicer. And he was right about the folly in extending the length of TZ to one hour (even if at least a couple worked, mostly the ‘hours’ are the ones that have NOT become famous). I’m now very curious about this ’50s show WIRE SERVICE, which gets the low * (one) star rating from HARRY AND WALLY’S FAVORITE TV SHOWS book…. the series did have Mercedes McCambridge as one of the regulars… like to see it for myself someday.